These three masterfully crafted, polychrome ceramic vessels are an outstanding example of the material culture of the Shipibo-Conibo peoples, indigenous to the Ucayali River basin in the Peruvian Amazon. The ceramics of the Shipibo-Conibo are exclusively produced by women using a sophisticated coil-building technique, achieving the remarkably thin walls for which this indigenous group is renowned throughout the Americas. The exterior surfaces of the vessels are treated with a fine, light-colored slip and bear the characteristic, complex geometric painting known in the indigenous language as kené. These labyrinthine lines and zigzag patterns, applied with natural reddish and dark earth pigments, are deeply rooted in the culture's cosmology, often reflecting the river system, visionary experiences, or cosmic order. The lot comprises two bulbous jars with constricted necks (classically identified as chomo) and one open bowl, varying in size (19 x 14 cm, 760 g; 12 x 12 cm, 450 g; 13 x 6 cm, 220 g). In indigenous daily life, such receptacles primarily serve as containers for water (ainbo chomo), for the fermentation and serving of traditional manioc beer (masato), or for food consumption. The present examples captivate with their highly authentic condition, pointing to an original functional history within the daily life of the Shipibo-Conibo. The darkened, deep-black interior of the smaller jar, the soot and scorch marks on the rounded bases, and the tactile abrasion across the rims bear witness to a functional history in direct contact with hearth fires and food. Notably, the largest vessel displays a visible surface loss/chip on its lower exterior wall, further attesting to its genuine ethnographic field use. Acquired directly from the indigenous inhabitants of the village during anthropological field studies, one of the photos shows one of the traditional villages near Pucallpa, where the ceramic vessels originated. The exceptional curatorial significance of this collection lies not only in its sculptural and graphic presence, but above all in its absolutely seamless provenance and exhibition history. The vessels were part of a documented ethnographic exhibition in 2005, as shown by the photograph of the installation. Furthermore, the legal origin is legitimized by complete, official export permits from the Peruvian Instituto Nacional de Cultura (INC): This includes both the official authorization for the transfer of the objects from Pucallpa to Lima, as well as the final certificate, which authorizes the export of these exact three pieces from Peru to Germany. Artifacts of such aesthetic power, coupled with an impeccable documentation of indigenous use and export, represent an exceedingly rare addition to any discerning collection of South American art. PROVENANCE Acquired directly from indigenous inhabitants near Pucallpa, Peru, during field studies by an anthropologist (2004). EXHIBITED Part of an ethnographic exhibition (2005).